GsT 

2110 
W14h 

Head  Gear: 
Antique  and  Modern 


THE  LIBRARY 
OF 

THE  UNIVERSITY 

OF  CALIFORNIA 
LOS  ANGELES 


Head-Gear, 


IR,_    HI.  WADLEIGH. 


BOSTON : 

COLEMAN  &  MAXWELL,  Stationers  and  Printers, 
58  and  60  Federal  Street. 
1879. 


AND 


Jflhtstrat-eir* 


COMPILED  AND  EDITED 


BY 


Copyright,  1879. 
H.  WADLEIGH. 


21  10 


[ 

Digitized  by 

the  Internet  Archive 

in  2015 

4.  • 

•i 

https://archive.org/details/headgearantiquemOOrhwa 


INTRODUCTION. 


The  object  of  this  work  is  to  give  an  idea  of  the  fash- 
ions in  head-gear  of  ancient  and  modern  times,  which 
to  most  people  are  very  interesting.  To  obtain  anything 
like  a  correct  description  thereof,  it  is  necessary  to  consult 
not  only  history,  but  also  laws,  poems,  and  biographies. 
For  this,  few  have  opportunity  or  inclination;  and  this 
work  is  an  earnest  endeavor  to  supply  in  a  condensed  form 
what  I  have  found  to  be  a  desideratum  ;  and  I  believe  it 
contains  a  correct  description  of  styles  not  to  be  found  in 
any  other  work,  and  no  statement  is  made  without  the 
most  patient  study  and  research. 

As  civilization  and  mental  improvement  advance  in  any 
country,  a  laudable  curiosity  is  awakened  to  inquire  into, 
and  become  acquainted  with,  the  appearances,  manners, 
and  opinions  of  other  nations  and  times.  To  gratify  this 
curiosity,  and'  to  assist  in  this  effort  to  be  informed  re- 


6 


specting  the  individual  manners  and  customs,  the  external 
appearance,  and  the  general  fashions  of  different  peoples 
and  periods,  this  work  is  issued,  presenting  to  the  eye  a 
series  of  judiciously  selected  and  well  executed  represen- 
tations of  the  original  and  ancient  head-dress,  and  quota- 
tions and  facts  gleaned  from  ancient  history  to  verify 
their  correctness. 

Trusting  this  work  will  interest,  if  not  benefit,  its  readers, 

I  remain,  respectfully, 

R.  H.  WADLEIGH. 

Millinery  Rooms,  474  Washington  St. 
Boston,  March  1,  1879. 


Catching  all  the  oddities,  the  whimsies,  the  absurdities,  and  the 
littlenesses  of  conscious  greatness  by  the  way. 


Backward,  turn  backward, 
O  time,  in  your  flight ! 


Onward,  still  onward, 
Seeking  knowledge  and  light. 


8 


Perhaps  the  most  ancient  head-dress  that  we  find  men- 
tioned in  history  is  the  tiara.  Strabo  informs  us  that  it 
was  in  the  form  of  a  tower. 

It  is  often  seen  carved  upon  ancient  medals,  and  Servius 
calls  it  a  Phrygian  cap.  The  kings  and  heroes  of  Homer 
and  Virgil  wore  this  head-dress :  — 

This  royal  robe  and  this  tiara  wore 
Old  Priam. 

Woman  is  defined  by  an  ancient  writer  to  be  an  "  ani- 
mal that  delights  in  finery " ;  and  it  is  to  be  feared  the 
annals  of  dress  in  every  land,  the  most  savage  as  well  as 
the  most  civilized,  will  but  prove  the  truth  of  the  as- 
sertion. 


A  caul  is  a  very  ancient  head-dress;  it  is  mentioned  in 
the  Bible,  and  by  many  old  writers ;  it  was  usually  made 
of  net-work,  of  gold  or  silk,  and  enclosed  all  the  hair. 
Some  were  set  with  jewels,  and  were  very  heavy  and  of 
great  value.  In  the  time  of  Virgil  cauls  were  much 
worn :  — 

Her  head  with  ringlets  of  her  hair  is  crowned, 
And  in  a  golden  caul  the  curls  are  bound. 

Her  hair's  fair  ornaments,  the  braids  that  bound, 
The  net  that  held  them  and  the  wreath  that  crowned. 

Homer. 


O'er  her  fair  face  a  snowj  veil  she  threw, 
And,  softly  sighing,  from  the  loom  withdrew. 


Females.  Musicians  from  Theban  Tombs.   In  the  reign  of  Menes,  3893  years  B.C. 


It  appears  that  females  were  the  chief  musicians,  and 
these  were  probably  ladies  of  rank,  for  they  are  robed  in 
that  delicate  texture  which  was  then  called  "Woven  Air." 


12 


The  figures  on  the  opposite  page  give  an  illustration  of 
Chinese  women  in  full  dress.  Fig.  3  represents  a  married 
lady  with  her  hair  tied  on  top  of  the  head.  A  quantity  of 
false  hair  was  used  to  make  a  tuft  as  large  as  possible, 
filled  with  gold  or  silver  pins,  the  ends  of  which  were 
highly  ornamented  with  jewels.  Artificial  flowers  were 
often  used  to  ornament  the  head.  But  the  favorite  coif- 
fure —  the  object  of  a  Chinese  lady's  greatest  admiration 
—  was  an  artificial  bird,  formed  of  gold  or  silver,  intended 
to  represent  Fong-whang,  a  fabulous  bird  of  which  the 
ancients  relate  many  marvellous  tales.  It  was  worn  in 
such  a  manner  that  the  wings  stretched  over  the  front  of 
the  head ;  the  spreading  tail  made  a  kind  of  plume  on  the 
top,  and  the  body  was  placed  over  the  forehead,  while  the 
neck  and  beak  hung  down ;  and  the  former,  being  fastened 
to  the  body  with  an  invisible  hinge,  vibrated  with  the  least 
motion. 


i3 


The  recorded  history  of  China  begins  2697  years 
before  Christ. 

The  above  figures,  Nos.  3  and  4,  represent  the  head- 
dress and  costumes  of  a  later  date. 


The  researches  of  scholars  and  critics  which  have  been 
so  generously  and  successfully  lavished,  for  the  last  two 
centuries,  upon  the  ruins  of  Egypt,  are  perfectly  marvel- 
lous, and  only  increase  our  desire  to  be  more  acquainted 
with  its  customs,  of  which  we  can  find  but  little  in  the  way 
of  head-dress  to  ornament  these  pages.  Figure  7,  on  the 
opposite  page,  represents  King  Rameses  First  and  his 
queen,  who  reigned  through  the  most  illustrious  period 
of  Egyptian  history,  in  the  nineteenth  dynasty,  about 
141 1  B.C. 


1 


i5 


King  Rameses  and  his  Queen,  B.C.  1411. 


In  the  early  history  of  Rome,  550  years  B.C.,  in  the 
reign  of  Servius  Tullius,  there  seems  to  have  been  nothing 
whatever  of  head-dress. 

Thus  we  read  in  the  "  ^Eneid  "  :  — 

Bare  were  her  knees,  and  knots  her  garments  bind ; 
Loose  was  her  hair  and  wanton'd  in  the  wind. 

Ribbons  or  fillets  were  a  very  general  head-dress. 
Thus  Virgil  says  :  — 

In  perfect  view  their  hair  with  fillets  tied. 

Her  beauteous  breast  she  beat  and  rent  her  flowing  hair. 

Strabo  says,  that  in  Athens  it  consisted  of  a  wreath  of 
myrtle  leaves  and  roses  around  the  head,  forming  a  coro- 
bulus. 

The  hair  over  the  forehead  of  Apollo  Belvidere  is  an 
example  of  a  corobulus.  And  the  hair  was  twined  or 
spun  around  a  spindle,  in  the  shape  of  a  cone,  and  one  or 
more  of  these  projected  from  the  crown  of  the  head,  with 
a  golden  grasshopper  for  ornament,  as  seen  in  Fig.  10. 

Four  hundred  and  eighty  years  B.C.,  hats  were  not  worn 
as  a  rule,  and  dress  was  in  simple  style.    It  was  considered 


Athens. 


improper  for  women  to  be  seen  on  the  street,  and  their 
appearance  there  occurred  only  on  exceptional  occasions. 

On  journeys,  women  wore  a  light,  broad-brimmed  peta- 
sos,  which  Figs.  8  and  1 1  represent,  as  a  protection  from, 
the  sun.  At  a  late  period  the  head-dress  of  Athenian 
ladies,  at  home  and  for  the  street,  consisted,  in  addition  to 
the  customary  veil,  chiefly  of  different  contrivances  for 
holding  together  their  plentiful  hair. 


i8 


At  an  early  period,  Greek  women  wore  longer  or  shorter 
veils,  which  covered  the  face  up  to  the  eyes,  and,  falling 
over  the  neck  and  back  in  heavy  folds,  covered  the  whole 
upper  part  of  the  body. 

We  often  find  instances  of  the  exquisite  taste  of  these 
head-dresses  in  statuary  and  gems  of  ancient  origin ;  at 
the  same  time  it  must  be  confessed  that  most  modern 
fashions,  even  the  ugly  ones,  have  their  models,  if  not  in 
Greek,  at  least  in  Roman  antiquity. 

A  ribbon  used  to  be  worn  around  the  head,  tied  in  front 
with  an  elaborate  knot.  The  net  —  after  it  the  'kerchief — 
•was  developed  from  the  simple  ribbon,  in  the  same  man- 
ner as  straps  on  the  feet  gradually  became  boots. 

The  head-dress  of  the  women,  as  well  as  their  costumes, 
were  different  at  different  periods,  as  figures  on  preceding 
page  illustrate. 


t-9 


Greece. 


20 


Homer  frequently  mentions  the  veil  as  a  part  of  the 
attire  of  the  Grecian  and  Trojan  ladies. 
Of  Helen,  he  says  :  — 

O'er  her  fair  face  a  snowy  veil  she  threw, 
And,  softly  sighing,  from  the  loom  withdrew. 

The  ancient  head-dress  of  the  Irish  appears  to  be  but 
little  known  till  the  twelfth  century,  when  it  is  said  to 
have  been  much  the  same  as  that  worn  by  the  Southern 
Britons. 


21 


England,  A.D.  450. 


In  ancient  Britain,  from  the  earliest  time  to  the  arrival 
of  the  Saxons,  A.D.  450,  we  can  find  no  mention  made  of 
ladies'  head-dress,  and  but  little  is  mentioned  until  about 
1066,  and  even  at  this  date  not  any  style  existed,  although 


* 


Anglo-Saxon  females  of  all  ranks  wore  a  veil,  or  long 
piece  of  linen  or  silk  wrapped  around  the  head  and  neck. 
This  part  of  their  dress  was  exceedingly  unbecoming, 
perhaps  partly  owing  to  the  want  of  skill  in  the  artists, 
and  this  head-dress  was  seldom  worn  except  when  they 
went  from  home  (see  figures  on  preceding  page),  as  the 
hair  itself  was  cherished  and  ornamented  with  as  much 
attention  as  in  modern  times. 

In  an  Anglo-Saxon  poem  the  heroine  is  called,  "  The 
maid  of  the  Creator  with  twisted  locks." 

About  this  time  the  fashions  began  to  travel  northward 
from  Italy,  through  Paris  to  London,  and  caps,  hats,  and 
bonnets  of  various  and  fantastic  shapes  were  introduced. 

(See  figures  opposite.) 

As  Shakspeare  said :  — 

Report  of  fashions  in  proud  Italy, 

Whose  manners  still  our  tardy,  apish  nation 

Limps  after,  in  base  imitation. 

Richard  II.,  Act  II.,  Scene  i. 


England,  A.D.  1300. 


In  England,  artificial  flowers  were  unknown  till  the 
reign  of  Edward  III.,  A.D.  '1041. 

Artificial  flowers,  those  beautnul  imitations  of  the 
"  stars  of  the  earth,"  are  brought  to  such  perfection 
that  they  almost  rival  the  blossoms  they  are  intended 
to  imitate. 


24 

In  France,  during  the  reign  of  Charles  VIII.,  in  1483, 
it  is  recorded  that  head-dresses  were  lowered  considerably; 
but  in  the  portrait  of  Mary  of  Burgundy,  we  find  that  she 
still  wore  the  favorite  towering  cap  that  had  been  fashion- 
able for  two  hundred  years  before  her  time,  with  the  veil 
hanging  to  the  ground  and  a  square  piece  lying  upon  the 
neck  and  shoulders. 

It  is  a  hard  thing  to  say,  but  the  women  might  have 
carried  the  Gothic  building,  this  steeple  head-dress,  much 
higher  had  it  not  been  for  a  famous  monk,  Thomas 
Conects  by  name,  who  attacked  it  with  great  zeal  and 
resolution. 

,  This  holy  man  travelled  around  to  preach  down  this 
monstrous  style,  and  succeeded  so  well,  that,  as  the  magi- 
cians sacrificed  their  books  to  the  flames  upon  the  preach- 
ing of  an  Apostle,  so  many  of  the  women  threw  down  their 
head-dresses  in  the  middle  of  his  sermon,  and  made  a  bon- 
fire of  them  within  sight  of  the  pulpit.  He  was  so  re- 
nowned, as  well  for  the  sanctity  of  his  life  as  his  manner  of 
preaching,  that  he  would  often  have  twenty  thousand 
people  at  a  time  to  listen  to  him.  The  men  placed  them- 
selves on  one  side  of  the  pulpit  and  the  women  on  the 


1200. 


French. 


26 


other,  and  the  latter  appeared  (to  use  the  similitude  of  an 
ingenious  writer)  like  a  forest  of  cedars  with  their  heads 
reaching  to  the  clouds,  but,  like  snails  in  a  fright,  drew 
their  horns  in,  to  shoot  them  out  again  as  soon  as  the 
danger  was  gone. 

Whenever  they  wore  them  in  public,  they  were  pelted 
down  by  the  rabble  with  stones ;  but,  nevertheless,  they 
mounted  them  again  after  a  short  time.  The  customs  of 
the  Norman  peasants  in  many  respects  differ  from  those 
of  Britain.  The  head-dress  called  Burgonin  is  the  most 
remarkable  and  conspicuous  part  of  their  attire. 

The  weaving  of  gold  and  silver  threads  into  ribbon 
and  cloth,  which  is  now  in  use,  is  no  new  idea  ;  it  was 
ascribed  by  Pliny  to  King  Attalus,  about  sixteen  hun- 
dred years  ago. 


29 

4 


French,  A.D.  1400. 


28 


"  Here,  on  a  fair  one's  head-dress,  sparkling  sticks, 
Swinging  on  silver  springs,  a  coach  and  six; 
There,  on  a  sprig  or  slop'd  pourpon,  you  see 
A  chariot,  sulky,  chaise,  or  vis-a-vis." 

In  the  same  poem  we  read :  — 

"Nelly!  where  is  the  creature  fled? 
Put  my  post-chaise  upon  my  head." 

In  Germany  the  styles  seem  to  have  differed  but  little 
from  those  of  France,  as,  no  doubt,  France  at  that  date 
furnished  the  styles  for  the  world,  as  she  does  to-day. 

Fig.  32  was  copied  from  the  "  Nuremberg  Chronicle" 
of  A.D.  1493. 


Fashion  wears  out  more  than  women  do. 


29 


Germany,  A.D.  1450. 


15th  Century. 


3° 


As  we  advance  in  these  pages  one  would  suppose  we 
ought  to  be  exhibiting  styles  more  quiet;  but,  on  the 
contrary,  when  we  look  at  Figures  38  and  39,  which  have 
been  selected  from  miniatures  in  MSS.,  it  would  seem 
that  improvement  was  made  in  the  wrong  direction. 

The  caps  shown  on  the  opposite  page,  in  Figs.  40,  41, 
and  42,  were  worn  in  the  reign  of  William  and  Mary  in 
1688,  and  were  quite  becoming. 

In  1750  there  was  a  change  for  the  worse,  and  as  we 
advance  to  Figs.  43,  44,  and  45,  we  find  them  ridiculous. 

In  1789,  as  in  Figs.  46  and  47,  there  is  nothing  added 
to  their  beauty. 

Here  fashion,  motley  goddess,  changing  still, 
Finds  ready  subjects  to  obey  her  will, 
Who  laugh  at  nature  and  her  simple  rules. 


32 


Figures  48  and  49,  illustrating  the  Restoration  of  A.D. 
1830,  indicate  a  reaction  against  the  Voltairean  philosophy 
and  French  Revolution,  and  a  return  to  chivalry  and  de- 
votion. 

At  this  period  they  were  heart-shape  in  front,  in  re- 
membrance of  Mary  Stuart,  imitating  an  open  carriage, 
hiding  the  charms  of  the  fair  face  underneath  from  the 
passer-by. 

In  1850  a  modification  is  observable,  as  shown  in 
Fig.  50. 

As  we  arrive  at  the  fashions  of  1870  (Fig.  51),  we  begin 
to  feel  more  at  home.  Of  course  each  generation  thinks 
its  own  styles  are  just  right,  but  in  centuries  to  come 
modistes,  no  doubt,  will  look  back  upon  our  present  styles 
as  we  do  on  the  fashions  of  centuries  past. 

Such  is  life. 


33 


34 


Ladies'  DPxEss  Caps. 

As  yet  no  mention  has  been  made  of  caps,  but  a  great 
many  of  the  illustrations  of  simple  head-covering  resem- 
ble caps  more  than  hats  or  bonnets,  although  not  so  desig- 
nated. Figs.  52,  53,  and  54  are  dress  caps  worn  by  the 
French  in  the  sixteenth  and  seventeenth,  centuries.  Fig. 
55  shows  a  new  style  of  dress  cap  called  the  "  Thyra," 
composed  of  Bretonne  lace,  ribbon,  and  flowers ;  the 
crown  being  of  dotted  lace. 

Fig.  56  is  a  muslin  breakfast  cap  called  the  "Langtry," 
made  of  Valenciennes  lace,  falling  over  the  front,  finished 
with  an  Alsatian  bow,  and  the  crown  of  Swiss  muslin. 

Fig.  57  is  a  new  and  novel  idea  called  the  "  Turban," 
composed  entirely  of  a  large  silk  handkerchief.  This  is 
much  worn  for  a  dinner  or  evening  toilet.  The  last  three 
styles  are  taken  from  the  originals  at 

WADLEIGH'S 

l|ad|btmltb  f|iIBtt£rJ|  attfc  Sup  ]|tfxrm$, 

B  O  S  T  O  ILsT  - 

m  * 


35 


AD.  1879. 


36 

On  the  opposite  page  (Fig.  58)  is  an  illustration  of 
the  very  latest  Paris  bonnet  by  Madame  Magnier. 

The  foundation  is  heavy  corded  silk  of  cream-color, 
with  an  immense  wreath  of  Mignonette  covering  the  front 
of  the  crown  and  drooping  gracefully  to  the  left,  with  face- 
trimming  of  a  simple  knot  of  Bretonne  lace. 

Fig.  59,  designed  and  executed  at  Wadleigh's,  is  a  white 
French  chip.  The  face  of  the  bonnet  has  alternate  pipings 
of  light-blue  and  cardinal  satin,  with  a  shirring  of  the  lat- 
ter. The  outside  is  composed  of  a  knot  and  twist  of  Sul- 
tan silk  mingled  with  Bretonne  lace,  a  fine  wreath  of  for- 
get-me-nots, and  drooping  cardinal  buds,  with  Bretonne 
lace  ties.  Figs.  60  and  61  are  also  copies  of  the  latest 
spring  designs. 

Fashion  now  assumes  a  most  important  place  in  the 
domestic  economy  of  nations. 


38 


Fashion  is  the  only  tyrant  against  whom  modern  civili- 
zation has  not  carried  on  a  crusade  with  success,  and  its 
power  is  still  as  unlimited  and  despotic  as  ever.  There  is 
no  part  of  the  body  which  has  been  more  exposed  to  the 
vicissitudes  of  fashion  than  the  head,  both  as. regards  its 
natural  covering  of  hair  and  the  artificial  covering  of  hats 
and  bonnets. 

For  a  long  period  the  world  has  acknowledged  the 
French  to  be  leaders  of  fashion.  We  look  to  Madame 
Virot,  and  other  leading  modistes  of  Paris,  from  season 
to  season,  for  what  might  be  termed  first  ideas,  but  still  in 
all  we  are  obliged  to  soften  down  and  modify  them  to  suit 
the  more  simple  taste  of  American  ladies. 


Ancient  Mourning  costumes, 

the  outward  signs  of  woe  and  sorrow,  have  always  been 
demonstrated  by  some  peculiarity  in  color  in  all  nations. 

The  Roman  women  under  the  Republic  wore  black; 
under  the  Emperors  white  was  adopted. 

Grecian  women  covered  their  faces  and  wear  black. 

The  Chinese,  Siamese,  and  Japanese  wear  white. 


39 

Turks  wear  blue  or  violet. 

Ethiopians  wear  gray. 

Peruvians  wear  mouse-color. 

Spaniards  formerly  wore  white  serge. 

Italian  women  formerly  wore  white,  the  men  brown. 

Syria  and  Armenia  wear  blue. 

In  France,  mourning  apparel  was  formerly  white. 


The  following  explanation  has  been  given  of  the  cause 
of  the  adoption  of  different  colors  for  the  symbol  of 
mourning:  — 

White  is  the  emblem  of  purity;  celestial  blue  indicates 
the  space  where  the  soul  ranges  after  death ;  yellow  (or 
dead  leaf)  exhibits  death  as  the  end  of  hope,  and  man  fall- 
ing like  the  leaf  in  autumn ;  gray  is  the  color  of  the  earth, 
our  common  mother;  black — the  color  of  mourning  now 
general  throughout  Europe  —  indicates  eternal  night. 
"  Black,"  says  Rabelais,  "  is  the  sign  of  mourning,  because 
it  is  the  color  of  darkness,  which  is  melancholy,  and  the 
opposite  to  white,  which  is  the  color  of  light,  of  joy,  and 
of  happiness." 


FINALE. 


The  first  thing  that  a  woman  should  consider  in  prepar- 
ing for  the  great  work,  her  toilette,  is  the  shape  of  her 
head,  which  she  must  also  compare  with  her  stature.  The 
art  of  dressing  the  head  and  the  art  of  fashion  are  connected 
without  being;  identical,  and  in  spite  of  their  close  union 
we  can  readily  distinguish  them.  Whatever  may  be  the 
material,  it  is  important  not  to  forget  that  variety  is  the 
enemy  of  severity. 

A  single  color  freely  used  by  itself  would  be  more 
severe  than  several  colors.  Let  there  be  no  mistake : 
there  are  many  things  in  the  bonnet  which  do  not  depend 
upon  fashion,  which  are  released  from  its  absolute  yet 
limited  control.  We  must  be  clearly  understood :  the 
suitableness  of  a  bonnet  may  vary. 

A  bonnet  which  would  appear  smart  in  the  city  may 
be  elegant  and  suitable  for  the  country  or  for  the  sea- 
side, provided  the  rest  of  the  dress  is  in  keeping.  At 
such  times  a  little  liberty  is  allowable.  Flowers  have  a 
great  deal  of  character,  also  feathers,  ribbons,  lace,  and 


4i 

gauze.  It  is  only  a  slight  thread  that  connects  these  with 
our  feelings,  but  that  slight  thread  is  never  broken. 

In  closing  with  these  few  suggestions,  it  would  be  well 
to  remark  that  it  is  very  important  when  ladies  are  making 
their  selections  for  head-dress,  and  are  not  fully  decided 
in  their  wants,  it  is  generally  well  to  yield  to  the  judgment 
of  those  who  make  it  a  study,  providing  they  are  sure 
that  they  are  in  the  hands  of  such  of  experience.  An 
observing  person,  in  attending  our  fashionable  churches, 
operas,  or  even  promenading  the  streets,  cannot  fail  to 
notice  how  comparatively  small  the  number  of  ladies  who 
wear  a  suitable  and  becoming  style  head-dress.  It  has 
often  been  remarked  by  some  of  our  leading  modistes, 
that  only  one  lady  in  twenty  has  the  head  becomingly 
dressed,  showing  that  in  selecting  they  have  not  studied 
their  complexion,  stature,  and  general  style,  when  the 
expense  would  really  have  been  no  greater  had  they 
done  so. 

So  the  multitude  goes,  like  the  flower  or  weed 

That  withers  away  to  let  others  succeed  ; 
So  the  multitude  comes,  even  those  we  behold, 
To  repeat  every  tale  that  has  often  been  told. 


LATER. 


One  of  God's  eternal  laws  is  that  nothing  stands  still. 
A  nation  is  always  changing  for  better  or  worse.  A  peo- 
ple either  marches  towards  perfection  or  retrogrades. 
Every  bud  that  blossoms  seemingly  throws  out  some 
new  delicate  fragrance ;  every  day,  every  hour,  something 
new  and  startling  falls  upon  the  ear.  Every  fresh  thought 
that  rushes  into  the  mind  of  the  inventor  marches  with 
electric  speed  to  further  development.  Those  who  have 
carefully  studied  the  subject  of  this  work  well  know  what 
grand  and  noble  strides  fashion  has  taken  towards  perfec- 
tion, without  reaching  it,  however,  as  the  result  of  one 
day's  delay  in  going  to  press  necessitates  a  still  later  style. 
(See  following  page.) 

Another  thought,  another  stride,  another  whim! 
Fashion  !  O  fashion  !  where  wilt  thou  end? 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 
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